This simple comedy by British filmmaker Mike Leigh (Secrets and Lies) concerns the reunion of two women friends from university days who try hard, although awkwardly, to rediscover their early closeness. They succeed beautifully and experience a series of chance encounters with old friends and lovers whom they once knew together. Katrin Cartlidge (Breaking the Waves) and Lynda Steadman are outstanding, playing their characters via flashback in their grungy, early 20s as well as their more polished, contemporary selves at age 30. Following the complex ambitions of Secrets... and Lies, Career Girls almost looks like a holiday for Leigh, but it is no less the rich product of his now-famous process of symbiotic rehearsal and writing. The film is also graced by some of the most delicate passages of remembered love between two people seen in a long time. --Tom Keogh, Amazon.com [show more]
This Mike Leigh classic looks at two young career women who meet up after a long period apart, and rediscover the relationship they enjoyed when they shared a flat as students. The action takes place across one '90s weekend, with numerous flashbacks showing how it was in their '80s student period.
Typically impro-heavy and with the spotlight cast, once again, on some pretty embarassing encounters, Leigh's follow-up to his triumphant 'Secrets and Lies' treats us to at least two more outstanding performances. Katrin Cartlidge (from Leigh's 'Naked') pulls out all the stops and makes the more aggressive Hannah as aggravating as possible (in the '80s scenes), while Kynda Steadman (making her film debut) embues Annie (initially more appealing but who soon annoys through her whining) with some heavy duty neurotic behaviour which subsides convincingly with age - the twitching may have stopped but she still does this weird widening thing with her eyes.
Another auspicious film debut is that of Mark Benton who plays fellow student Ricky, another character with a severe confidence problem. His distinctive stammering, nervous tics and permanent squint are uncomfortably captivating, and by the film's end, we have nothing but sympathy for the guy.
Universally excellent acting, insightful writing (and improvisation), Leigh's fly-on-the-wall style of direction (this time juxtaposed with a smooth, upbeat musical score by Tony Remy and Marianne Jean-Baptiste - Hortense in 'Secrets and Lies')... well... the line that comes to mind is "more of the same", which in Leigh's case is the best compliment I can come up with.
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